| Requiem for a Dream |
| Written by Saul Berenbaum | ||||||||||
| Tuesday, 08 September 2009 | ||||||||||
Requiem for a Dream. What in God’s name do I say about this movie? A shattering portrait of lives lost and dreams squandered. A simultaneously crippling and moving cinematic monument and a film rarely bested since its release in simply engaging its audience. If you’re reading this and you haven’t seen Requiem for a Dream, where have you been? Did you die? The film has reached an uncommon level of infamy for a mainstream film. Whether it’s fully deserved depends on who you ask and if they’ve seen the film, and how many times. On first viewing I didn’t think I’d be watching it very much, but in the years since, the initial reaction of genuine anguish has subsided in favor of the kind of warm, cozy familiarity that comes from those really special movies in your life. Unlike Indiana Jones and the Last Crusade, though, I’ve seen Requiem only a half dozen or so times, so to its credit, it’s got staying power. Now when I watch it, yes, I’m still affected, but I can watch it while anticipating what’s coming, and mentally preparing myself. If the first viewing of Requiem was like a bat to the face, watching it this time was like a slightly smaller bat to the face. The film concerns, as I’m sure most would know, drugs and addictions – how they can defeat us, what they can make us see, and do. Consequently, the final minutes of Requiem for a Dream are among the most absolutely destructive moments in cinema history. Many movies are more depressing and upsetting than Requiem for a Dream, but unlike Cannibal Holocaust or Salò, Aronofsky’s film has had the remarkable fortune to have been seen by millions and millions of mainstream American audiences, and loved by most. Requiem for a Dream also happens to stand very much alone in its field of particularly distressing films in how it uses extremity rather than minimalism to affect its viewers. So many movies with similar aim depend on the strength of individual images to achieve what they mean to. Aronofsky opts instead to overwhelm the viewer with a nonstop barrage of paralyzing nightmares at the rate of an acid trip. Not that I have any idea about that kind of thing. The new Blu-ray, of course, represents the Director’s Cut of the film. Never having seen the theatrical version, I couldn’t tell you what was different, but the theatrical cut was rated R for “intense depiction of drug addiction, graphic sexuality, strong language and some violence.” So I’d say the unrated cut on the Blu-ray is just a little bit harsher than that. No matter how many times you see it, you’ll likely notice new and terrifying things that had somehow escaped you in the past. Requiem for a Dream remains, nearing its 10th anniversary, every bit as devastating as it was in 2000. Blu-ray Picture and Sound The Blu-ray looks wonderful, honestly. Colors pop off the screen and background/foreground separation is splendid. Matthew Libatique’s gorgeous cinematography gets a spectacular vibrancy that puts the old standard DVD from 2000 to shame. Also, the 7.1 DTS-HD Master track will engulf you in Clint Mansell’s legendary score in ways you may feel completely and totally uncomfortable with. This is a downright affronting, overwhelming powerhouse of a mix. Blu-ray Bonus Features Darren Aronofsky gives a great commentary on the main feature, and on the deleted scenes reel. Meanwhile, Matthew Libatique has a commentary of his own that aspiring cinematographers and filmmakers should absolutely check out. A documentary and an interview segment between Ellen Burstyn and Hubert Selby, Jr. fills out the features, and a trailer gallery finishes them off. Make no mistake, for the unbelievably low cost this puppy is going for, you really can’t expect a more immersive and dynamic high-def experience or movie. If you’ve never seen Requiem for a Dream or if you’ve seen it two dozen times, any Blu-ray-capable lover of art is urged to buy this mother. |
The Playpen
EDITOR-IN-CHIEF
Arya Ponto
Email | Twitter
FILM EDITOR
Lex Walker
Email | Twitter
MUSIC EDITOR
Tyler Barlass
Email | Twitter
ASSOCIATE EDITOR
Neil Pedley
Email
WRITERS
Matt Medlock
Email
Anders Nelson
Email
Saul B.
Email | Twitter
Robert Benson
Email | Twitter
Erin Burris
Email
Max Alexis
Email | Twitter
Jessica Guerrasio
Email | Twitter
Mark Zhuravsky
Email
Bryon Turcotte
Email | Twitter
Jess Goodwin
Email | Twitter
Holly Hargrave
Email
Caitlin Colford
Email | Twitter
Rob Young
Email
Jason Perry
Email






